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B    M    070    310 


A  PEDAL  METHOD 


FOB    THE    PIAIirO 


ALBERT   F.    VENINO 


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A  PEDAL  METHOD 


FOR  THE   PIANO 


BY 


ALBERT   F.  VENINO 


IHevv  lEMtiott 

ENLARGED   BY   A   KEY   ON   PAGE   50 

FOR   INSTRUCTIVE   PURPOSES 


NetD  Yortt: 

EDWAKD  SCHUBERTH  &  CO. 

(J      F.    H.    MliYER) 

23  Union  Square 
Honlion  : 

FORSYTH  BROS. 


C.  D  I  EC  KM  ANN 
Sternwarten  St.  79 


H.  LE  SOUDIER 


1894. 


Copyrighted,  1893,  by 
EDWARD  SCHUBERTH  &  CO. 


(T7ie  right  of  traimlatluti,  vi  reseroed  hy  the  puhlishers.) 


TO 


IPClilliani  /IDason 


nT'2-' 


PREFACE. 


The  amount  of  criticism  great  pianists  have  called  forth  would  fill 
volumes.  The  touch,  technique,  jjower,  individualit}^,  interpretation  and 
intellectuality  of  each  have  been  carefully  noted ;  yet  one  point  has  been 
left  untouched,  and  that  one  of  the  most  important,  viz. :  the  pedal — the  life- 
giving  power  to  the  pianist,  that  which  vitalizes  a  composition  as  the  sunlight 
vitalizes  dormant  colors,  or  the  breath  the  human  body. 

Is  it  not  time  that  this  much  abused  and  continually  sinned  against 
appendage  of  the  piano  should  receive  proper  recognition,  and  be  placed  in 
the  front  rank  of  obstacles  in  a  pianist's  career  to  be  thoroughly  mastered  ? 

Many  of  the  pianists  use  the  pedal  so  very  discreetly  as  to  often  produce 
a  dry,  lifeless  and  uninteresting  performance,  while  the  majority  of  teachers 
do  not  instruct  their  pupils  sufficiently  in  its  use,  either  because  there  exists  no 
system  or  because  they  consider  it  of  small  importance. 

This  was  my  personal  experience  as  a  student,  and  it  was  not  until  after 
several  years  spent  at  the  Stuttgart  Conservatory,  Avhen  I  went  to  Leschetizky 
in  Vienna,  that  I  realized  the  great  possibilities,  the  wonderful  effects,  which 
could  be  produced  by  the  pedal.  How  different  the  same  pieces,  so  often 
heard  before  and  since,  sounded  to  me  there !  How  much  grander  and  broader, 
painted  in  warmer  colors — in  fact,  endowed  with  life !  That  the  pedal  plaj^s 
a  thus  important  part,  Liszt,  Rubinstein  and  Paderewski  have  clearly  proved. 

The  proper  use  of  the  pedal  is  one  of  the  most  difficult  things  to  be 
acquired  by  the  piano  student — difficult  in  itself,  and  rendered  more  so  because 
there  has  been  but  imperfect  light  thrown  on  the  subject  by  those  gone  before. 

Some  pianists  have  pedaled  by  instinct,  others  have  analyzed  and 
illustrated  its  use  to  a  favored  few  of  their  followers,  but  no  one  has  left  us 
the  legacy  of  a  printed  analysis  and  an  adequate  system  for  our  guidance. 

I  have  long  believed  that  the  correct  use  of  the  pedal  could  be  thoroughly 
analyzed  and  systematized,  and  the  product  of  that  conviction  is  this  book. 

Albert   F.  Venino. 


mvt  s. 


DEFINITIONS  AND  RULES. 


THE   PEDALS. 

1.  The  principal  pedals  of  the  modern  piano  are  the  2^i<^i^^o  jyeclal,  or  soft 
pedal,  for  the  left  foot,  and  the  damper  j^edal,  for  the  right  foot  (erroneously 
called  loud  pedal,  as  it  is  often  applied  to  pianissimo  parts). 

2.  They  are  pressed  down  either  to  diminish  or  prolong  the  tone. 

3.  (a)  The  soft  pedal  acts  by  reducing  the  number  of  strings  struck  by 

the  hammers,  as  in  the  grand  piano  {ii7ia  corda). 

(b)  Or  it  softens  their  impact,  either  by  interposing  a  strij)  of  felt,  as 

in  the  square  piano,  or 

(c)  By  diminishing  their  length  of  blow,  as  in  the  upright  piano. 

4.  The  damper  pedal  removes  the  dampers  altogether  (ti'e  coi^de)  and 
permits  the  player  by  judicious  management  with  the  foot,  so  as  to  avoid 
confusion  of  sound,  to  prolong  and  augment  the  tone  by  vibrations  of  certain 
strings  in  sympathy  with  the  ones  struck  and  in  higher  octaves.*  This  pedal 
thus  enriches  and  beautifies  the  tone. 


POSITION   OF   THE   FEET. 


5.  (a)  The  player's  right  foot  should  be  placed  so  that  the  toes  only  rest 

upon  the  damper  pedal.  The  heel  of  the  foot  should  remain 
firmly  upon  the  floor. 
if>)  This  rule  also  applies  to  the  left  foot  when  the  soft  pedal  is  to  be 
used.  When  not  used  the  foot  should  be  placed  to  the  left  of 
it,  so  that  when  required  it  can  be  placed  upon  the  pedal 
without  raising  the  heel. 

6.  The  right  foot  should  always  be  in  position  over  the  damper  pedal. 

7.  The   position   of    the   feet    should   be    carefully   attended   to   before 
beginning  to  play. 


*  See  Helmholtz's  Lecture  on  Physiological  Causes  of  Harmony  in  Music, 


6 

HOW   TO   USE   THE   DAMPER   PEDAL. 

8.  Having  assumed  the  proper  position,  the  pupil  should  practice  using 
the  pedal  *  by  a  downward  and  upward  motion  of  the  foot.  Care  should  be 
taken  that  the  up  motion  is  made  rapidly^  allowing  the  pedal  to  come  up  all 
the  way,  but  without  taking  the  foot  off  entirely,  else  a  thumping  noise  is 
produced.  ♦ 

9.  The  following  pedal  signs  will  be  employed  to  designate  precisely  the 
use  of  the  pedal. 

{a)  The  down  motion  is  indicated  thus:   \(^,  and  signifies  to  press 

down  the  pedal. 
(5)    The  up  motion  thus :  /,  signifying  to  raise  the  foot, 
(c)    A  horizontal  line,  thus :  ,  attached  to  the  "down" 

sign  indicates  the   continuation  of  the  down  pedal   until  the 

next  "up"  sign  is  reached.     Thus: 


X^ 


\ /  \_ /    t 


Continue,. 


10.  The  pupil's  attention  is  again  directed  to  the  "up"  motion  (/), 
which,  as  stated  in  §  8,  must  be  accomplished  rapidly,  and  simultaneously 
with  the  first  tone  in  every  change  of  harmony.  The  "down"  motion  (\^) 
depends  somewhat  upon  tempo,  and  consequently  upon  the  duration  of  said 
first  tone. 

11.  In  the  two  following  examples  the  pupil  will  observe  that,  while  the 
"up"  motion  always  occurs  at  the  instant  of  striking  a  key.,  t\\Q  '''' diOWTi'''' 
motion  in  the  adagio  tempo  occurs  some  time  after  the  key  has  been  struck, 
denoting  that  the  pedal  must  not  necessarily  be  used  while  the  fingers  hold  the 
key,  while  in  the  allegro  tempo  the  "down"  motion  occurs  much  sooner. 

Adagio,  Allegro. 


W 


-e- 


K-\       t^o 


o        *^ 


^o- 


^\      /\      i\      i\     I  ^  \      A      A      r\_t 

Or,  in  other  words,  the  hands  (fingers)  and  foot  should  not  descend 
together,  hut  as  the  fingers  strike  the  foot  is  raised,  then  pressed  down  after. 
The  pupil  must  endeavor  by  faithful  practice  to  overcome  the  natural  tendency 
of  lowering  hand  and  foot  together,  and  perfectly  master  the  somewhat 
unnatural  movement  above  described,  for  if  this  is  thoroughly  acquired  and 
applied  automatically  the  basis  of  correct  pedaling  is  laid. 


*  The  word  "damper'"  before  pedal  will  now  be  dispensed  with,  as  pedal  is  universally  under- 
stood to  mean  the  damper  lor  loud)  pedal,  and  is  the  one  of  which  this  book  will  treat  (with  the 
exception  of  a  few  remarks  on  the  "  third  pedal "). 

t  In  the  author's  opinion  these  pedal  sij^ns  should  leave  no  room  for  doubt  as  to  the  precise 
moment  of  pressing  down,  continuing  and  raising  the  foot,  and  are  an  improvement  on  the  old 
system,  viz.:  Ped.  and  »,  as  that  cannot  be  used  so  as  to  indicate  Syncopation  of  the  pedal  (§  12). 


SYNCOPATION   OF   THE   PEDAL. 

12.  The  manner  of  using  the  pedal  as  shown  is  termed  "  syncopa- 
tion of  the  pedal,"  i.  e.,  the  down  pedal  (analogous  to  the  accented  note) 
occurs  after  a  key  (keys)  has  been  struck,  thus  falling  on  a  weak  beat  or  a 

fraction  of  a  beat. 

Compare  the  following  illustrations: 

Syncopation  of  notes.   sync,  of  thePed.- 

1334  1234  123  4 


31 


\_7       L 


PRELIMINARY   EXERCISES. 

13.  Practice  the  following  exercises  with  each  hand  separately,  the  left 
hand  an  octave  lower : 

ia.  And.inte. 


J 


-6f- 


I 


i 


p 


^ 


m 


\ 


J 


14.  Play  the  following  exercise  with  each  hand,  using  the  second  finger 
throughout.  The  *'down"  motion  must  occur  before  the  key  is  released. 
This  applies  to  all  of  the  exercises. 

D.   Allegretto. 


15.  The   two   following   exercises   are    alike   in   melody,    but  differ    in 
tempo  and  duration  of  notes,  consequently  in  the  use  of  the  pedal  also. 


I 


c.  Adajrio 


^ 


i 


jSt 


i 


f9- 


22 


^ 


d.^AlIegretto  jnoderato 


16.  Exercise  e  should  be  practiced  with  great  care,  as  it  is  of  frequent 
occurrence  and  very  difficult.  The  pedal  as  used  here  is  termed  quick  syn- 
copation. The  effect  to  be  produced  is  a  continued  sound  of  the  c.  (See 
Appendix  A.) 


8 


e.   Andante.  (For  the  left  hand  only.) 


Beethoven. 


Tf.  ^  f  i3eeinov( 


A 


_A- 


A 


A 


A 


A 


3 


-A A A  A AAA 


7 


17.  The  preceding   and  following   exercises  should  at  first  be  practiced 
very  slowly,  then  gradually  faster  and  faster. 

fj 


i 


^ 


\_A A. 


-0 

A 


A A     A.      A      A 


P 


■» — i^ 


= 


A A A_V 

18.  As  the  above  exercise  is  gradually  played  faster  the  time  elapsing 
between  the  ''up  "  and  "  down  "  motion  must  necessarily  grow  shorter. 

19.  Before  proceeding  to  Part  II.  it  will  be  necessary  for  the  pupil  to 
study  carefully  the  following  pedal  experiments,  the  results  of  which  form 
the  fundamental  principles  upon  which  the  rules  in  this  book  are  based. 

20.  The  pupil  will  observe  that,  whether  the  following  is  played  legato  or 
staccato,  the  pedal  produces  the  same  effect  in  so  far  as  it  prolongs  the  tones, 
which  collectively  constitute  the  G  major  chord. 


5¥n; 


i 


\=:        -9 


J 


21.  Now  use  but  one  pedal  throughout  for  the  following  combination  of 


tones 


and  a  most  discordant  and  disagreeable  sound  results,  and  very  naturally  so.. 
We  have  two  entirely  different  chords,  each  distinctly  exclusive,  each 
demanding  to  be  heard  alone,  and  therefore  each  requiring  a  separate  pedal. 
Thus : 


m 


y  \_ 


22.  It  follows,  then,  that  as  lo7ig  as  the  harmony  remains  unchanged  the 
pedal  may  also  continue  unchanged.  The  pedal,  however,  is  not  always  to  be 
used  where  the  harmony  in  itself  would  permit  it,  but  rather  where  a  desired 
effect  requires  it. 

23.  The  pupil  will  next  distinguish  the  different  registers  of  tones.  In 
the  bass,  or  lower  register,  are  found  the  longest  and  thickest  strings,  which 
consequently  produce  greater  volume  and  continue  to  sound  longer  than  those 
in  higher  registers. 


^ 


\ J 

24.   In  the  middle   register  the  strings  are  shorter  and  thinner,  and  will 
therefore  produce  less  volume. 


J 


25.   The   higher  up  we  proceed  the   shorter  and  thinner  do  we  find  the 
strings,  consequently  less  volume  and  duration  of  tone. 


s 


IE    ^    « 


=»=^ 


\ / 

26.  The  pupil  having  carefully  gone  over  the  above,  will  readily  com- 
prehend why  diatonic  or  chromatic  progressions  will  sound  most  disagreeable 
and  obscure  in  the  Bass  when  blended  by  the  pedal. 


10 


'  ^'  'II 


27.  Whereas   in   the  middle   register   they  sound   less  disagreeable  and 
incomprehensible. 


#       *     )>«    ^^ 


m       • 


28.   While  in  the  higher  register  the  pedal  can  hardly  be  dispensed  with 

A A K — 1 , -I « K 


V. 


J 


The  pupil  should  repeat  the   foregoing  pedal  experiments  many  times, 
listening  attentively,  until  absolutely  satisfied  as  to  the  effect  produced. 


Part  Kfi. 


29.   The  modes  of  using  the  pedal  may  be  chissified  as  follows; 

{(()  The  pedal  governed  by  Temjyo  and  Duration  of  Tonet^ 
(fj)    The  pedal  governed  by  the  Ilarmonlc  Element. 

(c)  The  pedal  governed  by  the  Melodic  Element. 

(d)  The    pedal   governed  by   the  Pitch  of  Tones ^    the  higher  tones 

permitting   of  more  constant  use  of  the  pedal  than  the  lower 
ones. 

Note.— Upon  first  consideration  it  would  seem  as  thoug'h  it  required  hundreds  of  rules  to  cover  all 
contingencies  of  pedaling,  which  must  necessarily  be  governed  and  influenced  by  the  endless 
varieties  of  rhythmic,  melodic  and  harmonic  combinations.  The  author,  however,  deems  it 
expedient  to  establish  as  few  rules  as  possible,  and  the  pupil  upon  investigation  will  tind  that  all 
questions  which  maj'  be  raised  in  regard  to  pedaling  can  be  conveniently  placed  under  and 
governed  by  one  or  the  other  of  the  above  rules  or  the  few  exceptions  which  follow  them. 


A.— THE  PEDAL  GOVERNED  BY  TEMPO  AND  THE  DURATION 

OF  TONES. 

30.  AVhen  the  tempo  is  slow  the  duration  of  tones  is  naturally  longer, 
and  the  ear  has  better  opportunities  to  apprehend  each  individual  combination 
of  sounds. 

31.  To  avoid  confusion  of  sounds  discordant  and  offensive  to  the  ear  it 
is  advisable  to  change  the  pedal  on  all  tones  (from  whole  notes  to  sixteenths 
inclusive)  that  express  harmonic  or  melodic  progression. 


Exercises. 


1.  Very  slow. 


xIjuuCjuuCa^^ 


12 


2.  Adagio. 


E 


^^ 


£ 


^ 


^rQ?^ 


Mozart 


'VJ\J\U\J^Jj^ 


^ /\_A_Ay\-A^ 


t 


^^ 


^ 


w. 


E 


If*' 


i'P: 


/ 


P 


*.(: 


h3  ^^       ^—^  t5-     * 


4n 


M- 


TM. 


!L 


5T^ 


_A. 


32.  In  the  following  examples  tbe  tempo  is  increased,  thereby  shortening 
the  duration  of  tones  represented  by  eighth  or  sixteenth  notes  to  such  an 
extent  that  they  may  be  executed  without  change  of  pedal,  as  the  discordant 
sound  does  not  become  apparent.  Syncopation  of  the  pedal,  however,  must 
take  place  on  the  first  tone  or  chord  following  such  short  tones,  whether 
in  the  Bass  or  Treble. 


3.  AUegfCtto. 


Schubert . 
Op  142»N9  Z. 


^ 


^ 


m 


s 


v--^'-i^  f!^^ 


fe 


gg 


10 


k 


« 


// 


^ 


i 


I /    \ aZi_a 


^^ 


i 


fT?' 


5>^ 


9- 9^ 


/^ 


^ 


*  At  this  point  the  repetition  in  ii  higher  octave  is  omitted  in  order  to  introduce  as  much  new 
harmony  as  possible. 


13 


I 


P    i4 


^ 


^ 


^ 


?:w 


^ 


o 


/^ 


-5- 


#-^ 


#   #   # 


^ 


yc 


y^ 


A 


A. 


^    dc 


r^ 


For  an  explanation 
of  measures   9,10, 
ll,14,16;see'P<f^p/ 
governed  by  Har- 
monic element.  " 


A^ 


4.  Andantino. 


Schubert . 
Op.94,   N9  2. 


^^ 


v--^vn  J:JJ 


g 


^ 


■^ 


a 


^''toiY^ 


'h\>  -TT 


I 


5- 


4l>       J- 


53^ 
a__!a A_7i /   \ 


B.— THE    PEDAL   GOVERNED    BY  THE   HARMONIC    ELEMENT. 

33.  The  use  of  the  pedal  is  dictated  by  the  harmonic  element,  as  follows : 
(a)  When  a  great  volume  of  tone  is  required  during  repetitions  of 

the  same  chord.  Example  3,  measures  9,  10  and  11. 
(i)  When  the  accompaniment  consists  of  harmonic  figuration  through 
which  the  melody  seems  to  float,  or  into  which  it  is  woven. 
This  is  generally  the  case  when  the  Bass  remains  unchanged 
during  one  or  more  measures  or  when  the  Harmonic  element 
is  predominant.     See  also  example  3,  measures  14  and  16. 


5. 


^ 


..  A;)?)i> 


m 


bcauinann 


14 


^m 


^ 


te 


I? 


Ui^;)'^i>^ifi;>I^M^ 


m 


p 


i 


j> 


S 


^^=^ 


:-  M 


I 


^ 


i 


:i4i 


H. 


I 


I 


^ 


W--A 


^ 


¥ 


A 


^ 


A 


A 


34.  In  example  5  the  pedal  must  be  changed  at  the  beginning  of  each 
measure,  as  to  continue  it  for  more  than  a  measure  (two  or  three)  would  admit 
of  too  much  diatonic-melodic  progression,  which  must  sooner  or  later  become 
offensive  to  the  ear.  In  the  last  measure  it  is  self-evident  that  the  final  chord 
must  sound  distinctly  alone,  hence  the  change  of  pedal  on  the  A  flat. 

Chopin. \ 
6.  Lento  sostenuto.  op. 27,  n?8. 


35.  In  the  above  example  many  pianists  change  the  pedal  once,  and  some 
even  twice,  in  a  measure.  Essipoff  and  Leschetizky  use  the  pedal  as  given 
here.  Paderewski  syncopates  the  pedal  at  the  beginning  and  middle  of 
measures  3  and  4  respectively. 


15 

30.  Sometimes  a  melodic  successioti  is  based  upon  some  Jiarnionic  eomhi- 
nation^  and  therefore  the  pedal  need  not  be  changed.  In  the  following 
example  the  low  F  (being  th(3  foundation  upon  whicli  the  entire  harmonic 
combination  rests)  ini^st  be  sustained  with  the  ]>edal  until  a  change  of  harmony 
takes  })lace,  as  it  is  obvious  that  a  liarmonic  effect  is  desired.  Thus  the  pedal 
adds  volume  and  richness  of  tone  color  otherwise  unattainable. 


RnbinsteiD 
Op. 23. 


37.  The  Berceuse  of  Chopin  is  another  example  in  which  the  pedal  is 
governed  by  the  harmonic  accompaniment  regardless  of  the  melody.  A  few 
measures  will  suffice  to  confirm  this. 


Chopin. 
Op    57 


C— THE  PEDAL  GOVERNED  BY  THE  MELODIC  ELEMENT. 


38.  When  a  melodic  succession,  based  on  some  harmonic  combination, 
appears  without  or  with  but  little^  accompaniment,  it  being  evident  that  a 
melodic  and  not  a  harmonic  effect  is  desired,  the  pedal  should  be  syncopated 
with  each  melodic  progression. 

39.  In  the  following  example  one  might  be  disposed  to  think  that  Beet- 
hoven desired  a  harmonic  effect  (as  the  first  appearance  of  the  melody  given, 
is  a  repetition  of  the  same  chord)  were  it  not  for  the  fact  that  this 
melody  is  repeated  a  number  of  times  with  an  accompaniment  so  simple^  as  to 
dispel  at  once  all  doubt  and  stamp  it  as  a  purely  melodic  progression. 


16 


9. a    Allegro  assai; 


Beethoven 
)p.  a,No  3 


40.  In  the  following  example,  although  the  harmony  remains  the  same 
during  six  measures,*  the  pedal  must  be  governed  by  the  melody^  as  that 
progresses  diatonically  and  lies  in  a  lower  register. 


fe 


10.  Etwas  lang^amer. 


^ 


Schumann^ 

Op.28,N9  3. 


\  Intermezzo  2 


u  Im 


V-"||7  7J^|p7  7     .|y7^^ 


f 


f 


^ 


T^fTV 


f' 


'? 


n 


f 


5Sf 


±± 


A IV-, 


The  pupil  must  carefully  follow  the  pedal  signs,  as  the  changes  do  not 
occur  exclusively  with  the  melodic  progressions,  but  sometimes  with  the  accom- 
paniment, as  in  measures  7  and  11. 


D.— THE    PEDAL    GOVERNED    BY   THE   PITCH   OF   TONES. 

41.  The  pedal  can  be  applied  to  scale  passages  (diatonic  or  chromatic) 
ichen  i?i  the  upper  registers  (extending  down  to  about  the  middle  of  the  key- 
board), and  continued  so  long  as  the  Bass  or  harmony  remains  the  same. 


*  In  this  instance  the  Bass  is  an  Organ  point,  for  an  explanation  of  which  see  Appendix  A.  ^ 


i: 


11.  Andante  con, Var 
Var.il  -# 


Havdn. 


'fe 


f 


i 


.K-U 1 — — ( 


(fee 


^ 


r 


p 


_^ 


f 


12.  Var  v. 


Schubert. 
Op.l42,N9  3j 


I 
I 


* - 


m 


tfti 


-^^ A 


^ 


m 


TJJfifi^fg'j^ 


id^ 


^. 


7\ 


A 


18 


VaR.II. 
iB.Leggiero  brillantc.^ 


L  iszt 
Rhap.   NO  12 


19 


14,  b  .  ^  •---;- 


^^  >^^Hg^^ 


Liszt. 


15 


8 


4: 


■;) i'^ 


Chopin. 
Op.  11, 


3 


K,J^Xi 


2e 


b 


i 


^ 


b u 


^ — \ — ^ 


ft 


^1 


^ 


i 


S" 


b ^ 


U^'     /I 


iz* 


^ 


I   i)  J) 


^ 


t^^ 


^^^ 


:^ 


te 


U 


I 


W' 


^ 


:5r 


wm^ 


P 


^ 


C^ 


/^•.   i 


20 


42.   The    following  example  of  glissando  from  Liszt's  lOtli.   Rbapsodie, 
should  be  pedaled  as  follows : 

Vivace.  ^ ►         Rhaj^.N9*0 


43.  As  a  further  example  of  pedaling  chromatic  runs,  the  following 
different  selections  from  Liszt's  F-minor  Concert-study  ma}'  prove  of  interest — 
not  only  to  the  student,  but  also  to  the  virtuoso. 

(a)  The  glittering,  scintillating  run  in  the  right  hand,  and  the 
octave  B-natural  in  the  Bass  (the  latter  should  be  accentuated 
very  strongly),  cover  a  multitude  of  sins;  the  successive 
sixths  in  the  left  hand  would  otherwise  sound  very  badly  with 
one  continuous  pedal.  The  examples  from  this  Concert-study 
must  be  played  very  rapidly  and  fluently,  else  the  pedal  can- 


not be  used  as  designated  here. 


17a 


OSS I A. 


8- 


Liszt. 
Concert  Etude,  F  minor 


St  »f  \\^  »>^  ^^ 


21 


(^>)  In  measures  1  and  2,  the  foot  is  raised  when  the  harmony 
changes,  and  remains  so  during  the  chromatic  progression  in 
the  Bass.  In  contradistinction  to  tliese,  measures  3  and  4 
demand  a  rushing,  roaring  effect.  The  pedal  is  therefore 
continued  longer,  but  must  be  changed  on  the  first  and  third 
beat  in  order  to  preserve  a  certain  amount  of  clearness. 

5 


22 


/v ^ ' 

(c)  In  this,  the  pedal  is  continued  for  five  and  three-quarter  measures. 
For  an  explanation  of  the  reason  it  is  then  omitted,  and  also  in 
the  succeeding  measures,  see  §  76. 


M 


^=■1 


§ 


■^y— »■ 


i 


,/.    VP 


yT^i^p'i^tfP 


:  h^^i>f 


^ 


fe 


P res  to. 


^^^ 


^^^ 


<^- 


^ 


LHa^ 


[^«rrff^-^r^r^rr^ 


a 


b^ 


M^ 


pri^^^   fjr'-^g^ 


s 


i..  *  ft  1 


^ 


accelerando  e  rhfoizando. 


te 


^- 


^r^^^^^-fei 


J^.J?J.f_fJ?^,fj!;?1^>> 


-^ 


S 


fe 


Jj.ffjjj^ff  JjI 


a 


^ 


^ 


3:^ 


i 


te 


23 


8- 


,_  JJf^.^f jJ^^f Jji;_^,^g_i 


2  1    3(2    ,  1    4    3 


,.,  ffff^''f'yfffj^i,V.',:,,-.r-. 


dimin. 


y 


dolchsimo  egualmente . 


\ 


{d)  Here  the  jjedal  is  omitted  for  the  same  cause  referred  to  in 
example  c.  In  measures  4  and  5,  the  pedal  is  pressed  down 
after  the  C  in  the  right  hand  has  been  played.  In  order  to 
accomplish  this  proj^erly,  it  must  he  held  a  trilie  longer  than 
its  actual  value.  This,  however,  is  not  necessary  in  measure 
3,  as  the  B  and  C  are  an  octave  higher.  At  the  end  of 
measure  6,  the  pedal  is  syncopated  on  account  of  the  lower 
register  and  chromatic  ])rogression. 


24 


17  i 


^ 


S 


^ 


i 


JJJJJJJJJ^J^ 


b 


^* 


5^5 


hJlJ|lJ~* 


g 


1 


,^ 


r^ 


yv. 


^^ 


^^ 


kfe 


«■•• 


<-»■>•«»«*•««»■•• 


^^ 


#Mn 


i 


:  2       I 
I       2      5     4    3  'l»  |> 


tYTr^rrrr 


^ 


i^ 


t±L 


V 


pi'h  rif. 


^•1 


EXCEPTIONS   A. 


44.  The  pedal  is  sometimes  used  during  scales  in  loicer  registers^  Avhen  a 
chaotic  or  rumblinu:  effect  is  desired. 

45.  Also,  Av^hen  desiring  to  make  a  crescendo  more  marked  and  forcible. 

4G.   By  making    frequent  changes    of    the  pedal,   a  sufficient  amount  of 
clearness  is  preserved. 


3 


18  Allegro  moderato. 


Liszt. 

2nd  Ballade 


— r_j\ 


w^^i^.. 


26 


^ 


^ 


•^  ,f     i     'r^¥ 


P 


=^ 


o 


^=t 


^ 


(fcc 


47.   In  the  following  example,  the  temj^o  is  extremely  suggestive  and  char- 
acterizes  the  entire  composition,  Presto  tempestuoso,  turmoil,  ruin,  destruction. 


'"•.Presto  tempestuoso. 


Chopin-Lis7,t 

Die  Heimkehr. 


f  \f7f  f  \f  !># 


Example  20,  illustrates  the  use  of  the  pedal  in  scale-passages  to  make  the 
crescendo  more  powerful. 


20.  yAR.\. 


Schubert. 
0pl42,NO3, 


27 


EXCEPTIONS   ]i. 


•4S.  The  student  must  liave  observed  that,  as  a  rule,  the  pedal  lias  heen 
coniinxLcd  unchanged  so  long  as  the  J^ass  (which  generally  establishes  the 
harmony)  remained  the  same,  with  the  exception  of  examples  18,  10  and  20, 
which  illustrate  scale  passages  in  lower  octaves. 

40.  AYe  now  come  to  an  exception  to  this  general  rule.  In  examples  21 
and  22,  although  the  Bass  remains  the  same,  it  becomes  inharmonic,  creating 
an  Organ-j^oint.  The  effect  to  be  attained,  is  that  or  nearly  that  produced 
upon  the  organ;  i.  e.,  in  l)oth  examples  the  D  in  the  Bass  should  be 
sustained  throughout,  without  running  the  harmonic  progressions  above  it  into 
each  other.     The  ])edal  must  be  syncopated  veryrajndhj  on  every  recurring  D. 


21  Poco  maestoso 


Heller. 
Op.  4  5, Vol.  II. 


22.  Pill   Allegro. 


V 


^ 


cresc. 


t 


^ 


fq^ 


I 


Beethoven. 
Op.  2S. 


t 


poco 


i      'j    pi 

A A  A 


J 


A 


w- 

F 


28 


1 


te 


^ 


^ 


A 


/\ -y^—. — 1 — 7L 


^ 


£ 


^\* 


Note.— Tne  peuai  may  aiso  Ije  syncopated  on  t'ae  upper  notes  of  the  Bass ;  i.  e.,  on  A,  B,  C,  etc, 
instead  of  on  the  D. 


PEDAL   EFFECTS. 


50.  The  best  explanation  of  what  is  meant  by  "pedal  effects"  will  be  found 
in  the  illustrations.  To  create  them  requires  not  only  a  thorough  knowledge 
of  the  pedal,  but  also  a  certain  amount  of  ingenuity.  The  most  difficult  of 
such  effects  to  comprehend  are  what  Leschetizky  calls  "little  pedal  pressures" 
(kleine  Pedal-Drucker).     No  definite  rules  to  govern  them  can  be  given. 

51.  They  seldom,  if  ever,  extend  past  a  quarter  beat  in  a  measure,  and 
may  be  said  to  be  emplo^^ed  to  j^revent  too  much  dryness. 

52.  The  following  examj^le  is  one  of  the  most  difficult  in  the  book.  The 
pedal  pressures  here  extend  through  tv^o  quarter  beats.  The  syncopation, 
which  takes  place  in  measure  six,  must  be  executed  very  rapidly.  That  the 
accompaniment  must  be  played  lightly  need  hardly  be  mentioned  here. 

^  RubinsteirL 

io.  ■  1  ,  Op.  70. 


^"^^^ 


!    *v-^ 


Measures  9  and  10  same  as  5  and  6. 


29 


24.   Allegro  con  brio. 


Beethoven 

Op  2,  NO  3 


q  M  liH 


P 


t 


«i     ^  !f^     if   3 


kk 


i 


*  3     9 


^ 


i 


^t±:^ 


^^ 


\ii 


Note.— The  above  manner  of  playing  this  ending  is  advocated  by  Leschetizky.    It  ccrtainiy  is  more 
brilliant  and  easier. 


53.  The  pedal  can  be  very  effectively  used  during  scale  i)assage8  ascending 
from  the  lower  octaves  into  the  higher,  sometimes  ending  with  a  chord. 
The  pedal  should  be  continued  through  the  entire  scale,  but  must  be  either 
syncopated  or  cut  off  short  with  the  chord  or  last  tone.  Such  cases  are 
found  frequently  in  cadences. 


Chopin 
Ballade,  Op    2.3 


30 


Liszt. 

Hungarian   Fantasie. 


Liszt. 
2f?   Ballade; 


54.  In  contradistinction  to  examples  thus  far  shown,  the  pedal  is  some 
times  used  when  the  hlending  of  different  harmonies  is  desired. 

55.  Such  jjedal  effects  are  of  rare  occurrence,  but  nevertheless  exist,  and 
are  sanctioned  by  both  composer  and  pianist.  The  effect  to  be  created  is  a 
nebulous  atmospheric  one;  a  blending-  of  thought  and  vision,  which  can  only 
be  produced  by  one  continuous  pedal. 

56.  Schumann's  Papillons,  Op.  2,  is  a  series  of  twelve  pieces.  A  few  bars 
of  the  last  number  are  given  to  illustrate  the  above  remarks.  In  this  part,  the 
ancient   "Grandfather's  Dance,"    (which,  according  to  an  old  custom,  always 


31 


closed  an  amuseiiiont),  is  played  l)y  the  left  hand,  while  the  right  plays  the  first 
Avaltz-thenie  as  it  appears  in  the  beginninir  of  the  collection  of  pieces.  This, 
uiunber  ue-lns  forte^  but  gnjws  softer  and  softer;  until,  finally,  while  the 
music  is  gradually  dying  away,  the  clock  strikes  six ;  the  old  dance  music 
grows  fainter,  a  soft  chord,  and — all  has  vanished  as  in  a  dream. 

In  this  exami)le  tlie  ])e(hil  is  ])rossed   down   and   (continued  during  twenty- 
seven  measures. 


Schamana. 


57.  The  Trio  of  Bach's  D  minor  Gavotte  (played  una  corde  and 2)ianissimo) 
is  another  example  wherein  the  j^edal  can  be  nseed  from  beginnino-  to  end, 
without  change.  Instead  of  detracting  from  the  piece,  the  pedal  thus  applied 
rather  heightens  the  effect. 

58.  The  entire  part  rests  upon  the  organ  point  D  in  the  Bass,  and  is  an 
imitation  of  a  Bagpipe  (Musette). 

29.  ^^.  Bach 


^ 


^^ 


^ 


■-r 


^W\  rm 


~7T. 


g 


i 


^^ 


^^ 


fe 


fjL 


^m 


32 

(In  the  Trio  of  the  G  minor  Gavotte  of  Bach,  the  pedal  must  be  changed 
quite  frequently,  as  this  piece  lies  in  a  lower  register.) 

59.  The  pupil  will  observe  that  these  examples  (Bach  and  Schumann)  are 
similar,  in  so  far  as  alKhave  an  Organ  point  in  the  Bass,  and  the  harmonies  of 
each  consist,  with  but  few  exceptions,  of  tioo  chords — Tonic  and  Dominant. 

00.  From  the  above,  we  may  conclude  that  only  such  pieces  as  contain 
few,  but  closely  related  chords,  can  be  treated  like  the  above  illustrations.  The 
effect,  however,  is  not  always  desirable. 

61.  These  pedal  effects  remind  us  of  the  landscapes  of  certain  modern 
masters,  whose  principal  charm  consists  not  in  clearly  expressed  form,  but  a 
peculiar  atmospheric  poetry  of  treatment. 

62.  What  can  be  accomplished  in  the  wa}''  of  unique  j)edal  effects  by  a 
little  thought  and  study  the  two  following  examples,  (as  performed  by 
Paderewski),  w^ill  illustrate: 


Schubert  -  Liszt. 


^ 


I     I     I 


#=*=^ 


•7   7 


<i 


yi 


63.  This  example  from  the  Schubert-Liszt  Serenade  is  given  here  as  found 
in  the  present  editions,  except  that  the  author's  pedal  marks  are  underneath 
the  old.  At  the  end  of  the  second  measure,  Paderewski's  execution  is  as 
follows : 


After  striking  the  last  octave  the  lower  F  is  released  and  the  pedal 
changed.  The  upper  F  will  then  sound  alone,  and  is  tied  to  the  F  in  the  next 
measure. 


33 


G4.  In  bis  Menuet  a  I'antique,  Paderewski  introduces  the  same  pedal  effect 
hv  boldino-  the  D  an  octave  below  the  long  sustained  D,  then  releasing  it  aa 
follows : 

31.  o 


i 


¥ 


m 


mj. 


% 


y> 


u 


i 


/■L^V 


34 

TWO-FINGER   EXERCISE. 

Qo.  The  following  exercise  has  been  prepared  expressly  for  this  work  by 
Mr.  William  Mason,  the  object  being  to  show  how  a  sustained  and  singing 
tone,  with  perfectly  pure  legato  effect,  may  be  accomplished  through  the 
co-operation  of  hands  and  foot — or  Leys  and  pedal  in  combination.  The 
melody  is  simply  the  diatonic  scale  of  C  major,  and  it  is  surrounded  by  an 
arpeggio  accompaniment.  It  is  intended  for  two  fingers  only,  and  these  are 
to  be  corresponding  fingers  of  both  hands — used  in  alternation.  At  first,  it  is 
better  to  use  the  second  finger,  beginning  with  the  right  hand,  which  always 
plays  the  melody  or  scale.  The  arpeggio  accompaniment  is  played  with  the 
two  fingers  in  alternation,  beginning  with  the  second  finger  of  the  left  hand. 
When  this  has  been  brought  easil}^  under  control,  the  third,  fourth,  and  fifth 
fingers,  and  even  the  thumbs,  may  be  brought  into  service ;  thus  widening  the 
scope  of  the  exercise  by  including  the  use  of  many  muscles.  Give  especial 
attention  to  the  directions  which  follow : 

66.  First,  j^lay  C  with  the  second  finger  of  the  right  hand.  Press  the 
damper  j^edal  on  the  second  balf  of  beat  o?ie,  and  hold  it  firmly  until  beat  ^f our ^ 
when  it  must  be  immediately  released.  Just  before  its  release,  the  left  hand, 
on  the  second  half  of  beat  three^  silently  and  without  striking,  presses  the  key 
which  had  previously  been  struck  with  the  right  hand,  and  holds  it  lightly  but 
firmly  until  the  proper  time  for  playing  the  melodic  tone  of  the  following 
measure.  These  directions  for  playing  apply  equally  to  every  measure  through- 
out the  exercise. 

67.  Practice  the  first  measure  alone  and  by  itself,  until  so  thoroughly 
mastered  that  the  fingers,  hand,  and  foot,  move  as  automatically  and  unconsci- 
ously as  the  feet  do  in  the  act  of  Avalking.  When  this  result  has  been  attained, 
the  mind  will  be  at  liberty  to  occupy  itself  with  the  constantly  changing 
harmonies  of  the  arj^eggio  accompaniment  in  succeeding  measures, 

68.  Second,  do  not  omit,  or  postpone  until  a  later  period,  the  observation  of 
the  marks  of  expression.  Adz. :  f.  and  ^9.,  cresc.  and  dmi.^  ritat'd  and  accel.,  as 
well  as  manner  of  touch,  dynamic  effects  of  emphasis  and  accent ;  and  while 
playing  listen  carefully  to  the  effects  of  light  and  shade  resulting  therefrom. 
Otherwise,  habits  of  omission  will  be  contracted,  and  these  are  just  as  hard  to 
overcome  as  are  faults  of  commission.  Hence,  Av^hile  observing  the  foregoing 
directions  for  practice,  give  simultaneous  attention  to  these  essential  matters, 

69.  Third,  and  finally,  the  second  finger  of  the  right  hand,  which  plays 
the  melodic  tones,  should  fall  upon  the  keys  Avith  more  force  and  Aveight  than 
is  used  in  the  accompaniment ;  it  should  also  be  alloAved  to  linger  Avith  a  slight 
pressure  on  the  key  for  a  moment.  This  is  in  order  to  give  prominence  and  a 
singing  effect  to  the  melody,  Avhile  contrast  and  perspectiA^e  are  accomplished 
by  playing  the  arpeggio  accom})animent  Avith  a  lighter  and  less  sustained 
pressure  upon  the  keys.  In  one  or  tAvo  places,  hoAvever,  the  harmonic  effect  is 
made  prominent  by  a  greater  emphasis  of  the  tones  of  the  accompaniment,  as 
indicated  by  the  marks  of  expression.  An  artist  Avith  musical  temperament 
and  poetic  sense,  produces  a  beautiful  effect  Avith  the  simplest  means,  such  as  a 
plain  chord  or  scale  progression ;  and  in  order  to  attain  so  desirable  a  result,  it 
is  essential  that  in  practice  attention  to  the  various  marks  of  expression  should 
at  no  time  be  OA-erlooked  or  postponed,  but  ahvays  carried  out  into  act,  and 
thus  artistic  habits  are  cultivated  from  the  outset. 


35 


Pattern     ^  j     ^ 

»'■ 

32.  Andante  espressivo 


Put  down  the  pedal  at  the  second  half  of  beat  one,  and  lift  it  precisely  at 
beat  four.     This  is  to  be  done  in  every  measure  throughout  the  exercise. 


af}p  assionato.         dim . 


a.    The  key  C  is  struck  here  lor  the  last  time,  and  a  strong  accentuation  of  this  tone  is  necessarj\, 
so  that  it  may  continue  to  sound  throughout  and  even  after  the  close  of  the  piece,  and  be  finally 
heard  alone,  djMng  away  after  all  other  tones  have  ceased.    Give  also  especial  and  careful  attention  to- 
the  repeated  change  from  the  right  hand  to  the  left,  back  to  the  right,  and  so  on,  occurring  in  the  last, 
four  measures. 


36 

70.  Students,  who  have  thoroughly  mastered  the  study  by  William  Mason, 
will  have  no  trouble  in  giving  a  correct  rendition  of  the  following  example 
from  Rubinstein's  F-minor  Barcarole.  The  pedal  is  syncopated  on  the  E-flat 
(1st  measure)  of  the  left  hand,  and  sustained  with  the  thumb  until  it  is  again 
struck  by  the  right  hand  thumb  in  the  accompaniment.  This  is  tied  to  the 
E-flat  of  the  next  measure,  on  which  the  pedal  is  again  syncopated.  The  same 
process  is  repeated  in  measure  3. 


53. 


i 


te 


m 


^ 


^m 


Rabinstein« 
Op.30,N9  1 


Ik 


^^# 


^ 


iJTJ  ^ 


i 


* 


-  ^^  ^r  ^f  ^1  '\ 


A. 


|-f\tr^ff'i^¥'f^ 


■J  JTi, 


71.  A  similar  example  is  found  in  the  G-major  Barcarole,  by  Rubinstein, 
with  the  exception  that  the  prolonged  note  remains  in  one  and  the  same  hand, 
while  the  pedal  is  changed.  In  measure  1,  the  foot  is  raised  precisely  on  the 
fourth  beat,  and  is  not  pressed  down  again  until  the  first  beat  of  the  next 
measure.  The  change  of  pedal  on  the  last  beat  of  measure  2  is  necessary,  on 
account  of  the  change  of  harmony.  In  measure  3,  the  pedal,  Avhich  has  been 
syncopated  on  the  E-flat,  is  released  precisely  on  the  fourth  beat,  and  pressed 
down  again  on  beat  five,  (thus  isolating  and  prolonging  the  melodic  tone).  It 
is  then  continued  until  the  change  of  liarmony  takes  place  on  the  second  beat 
of  the  next  measure,  when  it  is  again  syncopated  and  continued  until  beat 
five.  Here  the  foot  must  be  raised,  as  the  melodic  progression  would  become 
blurred.  The  pedal  is  not  pressed  down  again  until  after  the  E-flat  of  the 
next  measure.     The  balance  of  this  measure  is  pedaled  like  measure  3. 


37 


[) , 


Rubinstein  . 
Barcarole 


THE  HALF  PEDAL. 

72.  It  soiiK'liiiK'S  liap])eiis  tlial  a  Bass  tone  is  to  bo  sustained  as  an  organ- 
point,  while  the  same  liand  may  have  changing  harmonies  in  the  higher  registers. 
There  is,  of  course,  hut  one  way  to  sustain  it,  namely:  with  the  damper  ])edal 
(unless  the  instrument  has  a  third  or  sustaining  pedal).  But  one  continuous 
pedal  would  blur  the  harmonic  changes,  while  syncopation  of  the  pedal  would 
at  once  discontinue  the  Bass  tone  which  should  he  sustained.  Between  these 
two  extremes  there  is  a  hap})y  medium,  which  consists  in  permitting  the  'foot 
to  come  up  oidy  /lalf  V-dy^  and  pressing  it  down  again  rapidly.  This  is 
repeated  as  many  times  as  the  case  may  require. 

73.  The  half  2)edal  may  be  designated  by  a  horizontal  line  drawn  through 

the  combined   "  up  and  down  "  signs.      Thus:    ■/% 

The  following  example  illustrating  the  above,  is  the  last  measure  of  Field's 
fourth  Nocturne. 

Explanation:  The  pedal  can  be  continued  from  the  A  in  the  Bass  until 
the  G-sharp  (second  beat)  is  reached,  when  the  half  pedal  shouhl  be  used  with 
each  sixteenth  note  and  with  the  final  A.  Great  care  must  be  observed  that 
the  foot  is  not  raised  too  high,  else  the  Bass  tone  A  will  not  continue  to  sound 
to  the  end.  Higher  tones  (shorter  strings)  are  readily  discontinued!  by  the 
use  of  the  half  pedal.  The  organ-points  under  exception  B,  differ  from  this 
last  in  so  far  as  in  the  former  the  organ-])oint  is  repeatedly  sounded,  affording 
the  opportunity  of  changing  the  pedal. 

35. P'eld. 

^^      ""^"-^  Nocturne. 


In  Part  TIT.  of  this  book,  an  example  from  the  A-flat  Prelude  of  Chopin  is  given  to  illustrate  the 
use  of  the  sustainin'^  pedal.    It  will  also  serve  as  an  example  lor  the  half  iiedal. 


38 


74.  Another  very  charming  pedal  effect,  which,  though  familiar  to  many 
good  pianists,  may  be  entirely  unknown,  to  the  amateur  is  caused  by  the  upper 
partials,  or  harmonic  overtones  of  a  fundamental  tone.  These  harmonic  over- 
tones are  produced  by  strings  which  vibrate  in  sympathy  with  any  given  tone 
or  tones  (best,  lower  tones).  That  is  to  say,  if  the  C  string  of  the  great  octave 
is  struck  with  sufficient  force  (the  dampers  being  raised  by  means  of  the  pedal) 
its  upper  partials  will  after  awhile  become  audible  (the  higher  tones  less  so 
than  the  lower).     Illustration: 


m 


Strike  with  force. 


^ 


9-0- 


Upper  partials  or 
overtones. 


75.  Students  are  referred  to  a  lecture  by  Helmholtz  on  "Physiological 
Causes  of  Harmony  in  Music,"  which  thoroughly  explains  this  phenomenon. 
After  readino-  this,  they  are  earnestly  requested  to  experiment  for  themselves, 
the  followino-  illustrations  being  deemed  sufficient  to  arouse  their  interest  and 
to  spur  them  on  in  search  of  other  effects. 


mute. 


Explanation  :  In  example  «,  the  C  is  pressed  down  silently  (mute)  and  held 
firmly  throughout  the  entire  three  measures,  while  the  right  hand  plays  the 
arpeggio,  releasing  the  last  key  promptly.  The  result  is  as  follows :  the  lower 
C  string  has  been  made  to  vibrate  by  playing  its  upper  partials,  and  continues 
the  tone  of  these  for  some  time,  as  though  prolonged  l)y  the  pedal,  only  much 
fainter.      In  example  h^  the  order  is  simply  reversed.      The  upper  partials  are 


36> 


39 


prolonged  by  tlio  })o«l;il  until  llio  grout  C  is  j>ressed  down  silently.  The  foot  is 
raised  on  the  first  1)eat  of  the  third  measure,  when  these  upper  i)artials  will 
continue  to  sound  as  thouirh  refieeted  l>v  tlie  mute  tone. 

]\rr.  Arthur  Friedheim  has  kindly  contributed  an  example  (from  his 
un})ublished  Concerto),  which  illustrates  the  })ractical  application  of  tlie  above. 
While  the  orchestra  sustains  the  I)-flat  major  chord,  the  pianist  plays  the  same 
forte,  repeating  it  in  different  registers  (abbri'viated  here).  Finally,  the  keys 
represented  by  the  notes  in  the  last  measure  are  pressed  down  silently.  The 
effect  is  that  of  an  organ  heard  in  the  distance,  and  the  entire  example  is  a 
beautiful  diminuendo  of  tone.  Carefully  observe  the  pedal  signs. 
37.        L'lrgo. 


Full  Orchestra 
Voiles  Orchester 


Arthur  Friedheim.* 


iun^a. 


J'^-y 


THE  OMISSION   OF  THE  PEDAL. 

76.  The  most  beautiful  of  all  pedal  effects  is  that  obtained  by  leaving 
out  the  ])edal  at  the  proper  moment.  This  somewhat  ambiguous  remark  is  to 
be  understood  as  follows:  A  continued  use  of  the  pedal,  even  if  syncopated  at 
the  proper  time,  is  just  as  certain  to  become  monotonous  as  a  continued  repeti- 
tion of  some  melodic  progression  or  rhythmical  figure.  It  is,  therefore,  of  the 
greatest  importance  to  introduce  at  the  proper  moments  what  might  be  termed 
breathing  spells,  (Luft) ;  or,  in  plainer  words,  discontinue  the  use  of  the  pedal 
for  a  shorter  or  longer  period,  as  the  case  may  require.  To  know  when  to  intro- 
duce these  breathing  spells,  how  long  to  continue  them,  and  Avhen  again  to  use 
the  pedal,  requires  a  most  artistically  gifted  nature,  one  endowed  with  an 
aesthetic  sense  of  sound. 


40 


77.  In  cases  where  the  tempo  is  slow  and  the  melody  progresses  diatoni- 
cally,  (chromatically  ?)  the  pedal  may  be  used  during  two  or  three  such  pro- 
gressions, but  the  foot  must  be  raised  either  on  the  third  or  fourth  melodic  tone. 

78.  In  the  following  illustration  from  Schumann's  "Carneval,"  both  the  old 
and  new  system  of  pedal-signs  is  given.  The  former,  as  found  in  the  present 
editions  of  this  examj^le,  floods  the  entire  piece  with  pedal,  causing  at  times 
a  blurred  effect  and  many  unpleasant  dissonances.  The  author's  mode  of 
pedaling  eliminates  these  bad  effects. 

Explanation :    At  the  end  of  measure  6,  the  foot  should  be  raised  with  the 

last  quarter  note  (breathing  spell).     In  measures  8,  10,  11  and  12,  the  pedal  is 

discontinued — not  only  on  account  of  too  much  diatonic  melodic  progression,  but 

also  because  the  change  from  such  persistent  use  of  the  pedal  is  as  refreshing  as  a 

summer  shower  after  several  days  of  continual  sunshine ;  for  when  the  latter  again 

appears  we  enjoy  it  all  the  more.     In  measure  13,  the  pedal  is  syncopated  on  the 

G  of  the  accompaniment,  as  the  change  of  harmony  takes  place  at  that  instant. 

Schumann. 
Carneval. 


^^ 


V 


yv 


A- 


A 


41 


Vf'fnvd . 


79.  The  B-Hat  major  Preluvle  of  Chopin,  given  here  in  its  entirety,  will 
give  the  student  further  opjjortunities  of  realizing  the  effect  of  these  breathing 
spells.  It  has  been  chosen,  because  it  is  so  often  pedaled  either  with  one  con- 
tinuous 2^edal  throughout  each  measure,  or  syncopated  on  each  beat.  Both 
ways  are  unsatisfactory,  because  such  pedaling  becomes  obtrusive  and 
monotonous.  The  mode  of  pedaling  adopted  here,  tends  toward  making 
this  gem  what  it  no  doubt  was  intended  to  be  by  the  composer — a  trans- 
parent, aerial,  tone-poem. 

Praeludium. 
39.  .,    . 

Op.  28.  N9  21. 
4|-n ^' 


42 


43 


J\ l'\. 


U'K. 


t^ 

»      8   4       S    4   [,^ 


44 


i 


^^^^ 


IT 


-t-^ 


r 


^////. 


"nX7 


^art  KKK. 


THE  SUSTAINING  PEDAL. 

80.  A  few  words  in  reference  to  the  sustaining  j)e(lal,  which  is  destined  to 
become  of  great  vahie  to  the  jiianist,  Avill  not  he  amiss.  It  is  found  between  the 
damper  and  soft  pedal,  and  will  sustain  a  note  or  chord,  but  vnll  not  sustain  runs 
of  any  kind.  The  third  or  sustaining  pedal,  (unlike  its  many  short-lived  prede- 
cessors), has  come  to  stay;  although  it  has  not  received  universal  recognition 
yet,  because  but  few  piano  manufacturers  have  applied  it  to  their  instruments. 
In  the  concert  room  it  has  scarcely  been  used  at  all,  perhaps  because  pianists 
have  not  fully  realized  its  importance.  While  it  is  true  that  there  are  eoni- 
paratively  few  instances  Avhere  it  can  be  applied  in  our  past  and  present  piano 
music,  there  is  no  doubt  that  its  importance  will  influence  future  composers. 

ITS    USE. 

81.  This  pedal  is  applied  when  it  is  desirable  to  sustain  a  single  tone  or 
chord  exclusively,  and  must  be  pressed  down  after  the  key  (keys)  has  been- 
struck,  but  before  it  has  been  released.  It  is  only  affected  by  the  soft  and 
damper  pedals  when  they  have  preceded  it.  In  the  few  examples  given  here, 
the  pupil  will  perceive  the  advantages  gained  by  using  the  sustaining  pedal. 
The  tone  sustained  by  this  third  pedal  enables  the  performer  to  change  the 
damper  pedal  as  often  as  necessary,  or  dispense  with  it  altogether,  without 
affecting  the  sustained  tone. 

8'2.  The  foot  should  be  pressed  down  upon  the  third  or  sustaining  pedal 
immediatelv  after  strikinir  a  kev,  and  should  remain  doion  so  lono^  as  it  is 
necessary  to  sustain  the  tone,  or  while  repetitions  of  the  sustained  tone  occur. 


40.    Presto. 


Schumann. 
Jp.28,N<?3. 


-r-^usi.  Ptul.  I  I 


46 


M 


^^^  •^\j)V^ 


^^ 


s 


p  l^  ^ 


? 


^b^ 


SW5/.  Pe^. 


^^ 


:^T-c%^ 


77' 


The  octave  D  may  be  sustained  until  the  fourth  beat  of  measure  four  is 
reached.  The  octave  G  is  treated  in  the  same  manner,  i.  e. ,  sustained  until 
the  fourth  beat  of  measure  eight.  The  damper  pedal  used  in  measures  3  and  4 
heightens  the  effect. 


41.    Allegretto. 


Praeludium. 


Chopin . 

Op.  28,  NO   1?:, 


83.  Some  pianists  play  this  part  of  the  prelude  (Example  41)  without  the 
sustaining  pedal,  using  the  damper  pedal  instead  ;  others,  again,  use  the 
sustaining  pedal  without  any  damper  pedal.  The  author  has  here  given  both, 
and  would  add  the  soft  pedal,  if  that  were  possible. 

Saint  -  Saens.i 
,42.  Andante  sostenuto.  ^     .     Op.22. 


^ 


M^r^^l 


1^ 

o 


y 


y 


•47 


sust  Fid. 


^r-^^^ 


w 


m 


n*^^^ 


-»- 


•o 


y 


yv 


15 


-/^. 


84.  The  value  of  the  sustaining  pedal  must  become  apparent,  as  it  is 
almost  impossible  to  sustain  the  G  in  the  Bass  of  the  above  example  with  the 
damper  pedal  and  give  a  clear,  clean  rendition. 

85.  Bach's  A  minor  organ  prelude,  transcribed  for  the  piano  by  Liszt,  is  a 
most  interesting  example  for  the  "sustaining  pedal."  The  A  in  the  Bass 
needs  to  be  sustained  for  more  than  a  page,  but  in  what  way?  The  damper 
pedal  can  under  no  circumstances  be  used.  The  sustaining  pedal,  if  used 
immediately  after  striking  the  A,  will  also  catch  the  C  above  it  and  sustain 
that  also.  To  make  a  slight  pause  in  the  upper  voices  and  strike  the  "A" 
alone  would  j)robal)ly  answer;  but,  at  the  same  time,  cause  a  break  in  the  upper 
voices,  which  would  hardly  justify  the  means  employed.  The  only  proper 
manner  is  silentlt/  to  press  down  the  A  before  beginning  the  prelude  and  hold 
it  with  the  sustaining  pedal.  Do  not  raise  the  foot  until  the  Organ-point  A 
has  ended.      In  this  manner,  the  desired  effect  will  be  obtained. 


HINTS  TO  PUPILS. 

86.  First  master  all  technical  difficulties  before  applying  the  pedal ^  as  no 
fair  decision  Mith  reference  to  the  effect  of  the  pedal  can  be  arrived  at  while 
stumbling  through  a  piece. 

87.  Study  Harmony  thoroughly. 

88.  Determine  whether  the  Melodic  or  Harmonic  element  is  ])redominant,^ 
and  govern  the  pedal  accordingly. 

89.  Do  not  spoil  staccato  effects  by  a  too  lil)eral  use  of  the  pedal. 


48 

90.  Allow  yourself  plenty  of  time  before  deciding  whether  or  not  to  use 
the  pedal.  Test  carefully,  playing  a  part  over  many  times — both  with  and 
without  pedal. 

91.  Your  ear  must  be  supreme  judge.  If  a  passage  sounds  well  with 
pedal,  use  it.  If  you  are  in  doubt,  do  not  hesitate  to  ask  the  advice  of  some 
good  pianist. 

92.  Pupils  should  at  least  be  able  to  play  the  Sonatas  of  Clementi,  Haydn 
and  Mozart  loell  before  attempting  to  use  the  pedal,  excejyt  xohen  guided  by  an 
experienced  teacher. 

93.  After  having  studied  the  examples  in  this  book,  be  not  contented,  but 
search  further.  Endeavor  to  find  similar  examples,  and  make  yourself  absolute 
master  of  the  pedal,  remembering  that  to  the  earnest  thinker  and  searcher 
comes  the  reward  of  discovering  tone-color  effects,  which  to  others  must  always 
remain  obscure. 


APPENDIX  A. 


An  Organ-point  is  a  tone  which  is  sustained  in  a  certain  voice  during  a 
section  of  the  Theme,  Phrase  or  Period,  (or  throughout)  irrespective  of  the 
progression  of  the  other  voices.  As  the  latter  proceed  from  one  chord  to 
another  and  perhaps,  from  one  'kej  to  another,  the  sustained  note  must  neces- 
sarily from  time  to  time  disagree  with  their  harmony.  At  such  moments  it  is 
Inharmonic.      (Goetschius'  Material  used  in  Musical  Composition.) 


APPENDIX  B, 


The  pedal-marking  found  in  our  piano  music,  impresses  one  with  the 
idea  that  the  composer  did  not  think  of  tone-color  while  composing;  but 
jotted  down  the  pedal  signs  here  and  there  after  having  finished  the  piece, 
simply  to  comply  with  a  custom. 

Franz  Liszt  was  one  of  the  few  composer-j^ianists  in  whose  mind  tone- 
color  and  effect  originated  simultaneously  with  his  musical  ideas,  and  who  took 
pains  to  mark  the  pedal  and  its  duration  exactly  where  he  desired  it. 

While  it  is  true  to  a  certain  degree,  no  doubt,  that  composers  give  but 
little  thought  to  the  pedal,  rather  leaving  it  to  the  judgment  of  the  performer, 
it  is  also  true  that  many  of  our  so-called  "  Revised-and-fingered-by  "  musicians 
make  matters  worse,  by  showing  an  utter  lack  of  thought  in  reference  to  it,  as 
well  as  a  total  disregard  of  euphony. 

Pianists  rightfully  pay  no  attention  to  such  indications  of  the  pedal,  but 
use  it  according  to  their  own  judgment;   but  with  pupils  it  is  not  so.     They 


4:{) 

very  naturally  take  it  for  granted  that  the  pedal  as  marked  is  always  correct, 
submitting  to  the  superior  wisdom  of  the  composer,  reviser  or  editor,  and,  in 
consequence  thereof,  often  fall  into  gross  errors. 

Eminent  teachers  and  pianists  take,  no  doubt,  the  greatest  pains  wlien 
fixing  the  })edal  signs,  and  yet  I  do  not  hesitate  to  say  that,  were  they  to 
play  any  of  their  own  pedal  marked  pieces,  they  would  liardly  use  the  pedal  as 
they  have  marked  it.  And  why  ?  Simply  because  pianists,  as  a  rule,  syncopate 
the  })edal  nine  times  out  of  ten,  and  that  cannot  be  designated  with  the  old 
system  of  pedal  signs. 

Tn  many  editions,  the  pedal  marks  are  as  often  entirely  wanting  as  they 
are  misplaced.  For  example,  would  any  pianist  for  a  moment  think  of 
playing  the  first  eleven  measures  of  Beethoven's  Op.  110  without  c^^^y  pedal? 
Yet  this  is  revised  by  a  well  known  musician.  Such  instances  are  by  no  means 
solitary  occurrences,  but  can  be  found  by  the  hundreds. 

To  use  the  pedal  properly  and  with  good  effect  is  an  art  in  itself,  and 
requires  earnest  thought  and  study ;  a  well-trained  musical  ear  and  good  judo-- 
ment  being  indispensable  requisites. 

A  safe  rule  for  general  guidance,  and  one  which  covers  most  cases,  is :  "use 
the  pedal  only  when  it  will  somid  v^eliy  It  is  to  be  understood,  however,  that 
the  performer  following  such  a  rule  must  possess  the  above  mentioned  qualities^ 


-•-•♦*- 


50 


KEY. 

1st  Ques.     What  are  the  principal  pedals  of  the  modern  piano? 
Ans.     §  1.* 

2d  Ques.     How  are  they  used  ? 
Ans.     §  2. 

3d  Ques.     How  does  the  soft  pedal  act  in  a  grand  piano  ? 
Ans.     §  3,  a. 

4th  Ques.     How  does  the  soft  j^edal  act  in  a  square  piano  ? 
Ans.     §  3,  6. 

5th  Ques.     How  does  the  soft  pedal  act  in  an  upright  piano  ? 
Ans.     §  3,  c. 

6th  Ques.     How  does  the  damper  pedal  affect  a  piano  ? 
Ans.     It  removes  the  dampers  altogether  from  the  strings. 

7th  Ques.     What   position    should   the   feet   assume    when    using   the 
pedals  ? 

Ans.     §  5,  a  and  b. 

8th  Ques.     What  motion  of  the  foot  is  employed  when  using  the  pedal  ? 
Ans.     A  downward  and  upward  motion. 

9th  Ques.     Which  of  these  is  the  most  important  ? 
Ans.     The  upward  motion. 

10th  Ques.     Why? 

Ans.     Because  when  made   use   of  at   the  proper  moment  it  prevents  the 
blending  of  different  harmonies. 

11th  Ques.     When  should  the  upward  motion  be  used? 

Ans.     Simidtaneously  with  the  first  tone  in  every  change  of  harmony. 

12th  Ques.     Upon  what  does  the  downward  motion  mainly  dej)end? 
Ans.      Upon  the  tempo  and  consequently  upon  the  duration  of  the  first  tone  in 
every  change  of  harmony. 

13th  Ques.    What  difference  is  found  in  the  mode  of  applying  the  pedal 
in  the  exercises  marked  Adagio  and  Allegro  on  page  6  ? 

Ans.     In  the  latter  the  downward  motion  occurs  sooner  than  in  the  former. 

14th  Ques.     What  term  is  api3lied  to  this  mode  of  pedaling? 
Ans.     Syncopation  of  the  j^^dal. 


*  Answers  not  given  here  may  be  found  by  referring  to  paragraphs  as  indicated. 


51 


15tli  Ques.     Give  a  concise  explanation  of  the  above  term. 
Ans.     As  the  fingers  strike  the  keys  the  foot  is  raised  instantly,  then  pressed 
down  after. 

l(Jtli  Ques.     How  long  may  the  j^edal  be  continued  unchanged? 
Ans.     As  long  as  the  harmony  remains  unchanged. 

17th  Ques.  Why  do  diatonic  or  chromatic  pro^^ressions  sound  most 
disa*^Teeable  and  obscure  in  the  bass  or  lower  register  when  blended  by 
the  pedal? 

Ans.  Because  the  strings  are  longer  and  thicker,  jyroducing  greater  volume 
of  tone  and  continuing  to  sound  longer  than,  those  in  higher  registers. 

18th  Ques.     What  conclusion  is  drawn  from  the  previous  answer? 
Ans.     The  higher  tones  permit  of  more  constant    use  of  the  pedal  than  the 
lower  ones. 

19th  Ques.     How  may  the  modes  of  using  the  pedal  be  classified  ? 
Ans.     §  29. 

20th  Ques.     How  should  the  pedal  be  used  when  the  tempo  is  slow  ? 
Ans.     §  31.     Illustrate. 

21st  Ques.     How  w^hen  the  tempo  is  increased  ? 
Ans.     §  32.     Illustrate. 

22d  Ques.  How  should  the  pedal  be  used  when  governed  by  the 
harmonic  element? 

Ans.     §  33,  a  and  b.     Illustrate. 

23d  Ques.  How  should  the  pedal  be  used  when  governed  by  the 
melodic  element? 

Ans.     §  38.     Illustrate. 

21th  Ques.  How  should  the  pedal  be  used  when  governed  by  the 
pitch  of  tones? 

Ans.     §  11.     Illustrate. 

25th  Ques.     When  is  the  ^^edal  used  during  scales  in  lower  registers  ? 
Ans.     §  41  and  15.     Illustrate. 

26th  Ques.  What  exception  is  there  to  the  general  rule  of  applying 
the  pedal  as  stated  in  §  48  ? 

Ans.      When  the  bass  is  inharmonic,  creating  an  organ-point. 

27th  Ques.     What  is  the  desired  effect  in  such  a  case  ? 
Ans.      To  sustain  the  organ-point  with  the  j^edal. 

28th  Ques.     How  may  that  be  accompHshed? 

Ans.  By  syncopating  the  pedal  on  each  repetition  of  the  organ-point. 
Illustrate. 


52 

29th  Ques.     Is  the  pedal  ever  used  during  scales  ascending  from  the 
lower  registers  into  the  higher  ? 
Ans.     §  53.     Illustrate. 

30th  Ques.     Are  different  harmonies  ever  blended  by  the  pedal? 
Ans.      Yes,  but  not  frequently. 

31st  Ques.  What  harmonic  progressions  would  permit  of  such 
pedaling  ? 

Ans.  Such  as  contain  few,  but  closely  7'elated,  chords,  as  tonic  and  dominant. 
Illustrate. 

32d  Ques.     Explain  what  is  meant  by  the  half  pedal  ? 
Ans.    It  consists  in  permitting  (he  foot  to  come  up  only  half  way  and  pressing 
it  down  again  rapidly. 

33d  Ques.     When  is  it  applicable  ? 
Ans.     When  desiring  to  sustain  a  bass  tone. 

34th  Ques.     Why  not  use  the  pedal  continuously? 
Ans.     Because  that  would  blur  the  harmonic  changes. 

35th  Ques.     Why  not  syncopate  the  pedal? 

Ans.  Because  that  would  at  once  discontinue  the  bass  tone,  which  should  be 
sustained.     Illustrate. 

36th  Ques.     What  is  meant  by  upper  partials  or  harmonic  overtones? 
Ans.      Certain  tones  produced  by  strings  which  vibrate  in  sympathy  icith  any 
given  tone  or  tones. 

37th  Ques.  What  are  the  upper  jDartials  of  the  C  string  of  the  great 
octave  ? 

Ans.     See  illustration,  page  38. 

38th  Ques.     Explain  the  difference  between  Exs.  3G  a  and  36  b. 
Ans.     See  explanation,  p)age  38. 

39th  Ques.     When  should  the  use  of  the  pedal  be  discontinued? 
Ans.     §  77.     Illustrate. 


TABLE  OF  CONTENTS. 


PART    I. 

PAGE 

The  Pedals 5 

Position  of  the  Feet 5 

How  to  Use  the  Damper  Pedal 6 

Pedal  Signs 6 

Mode  of  Application 6 

Syncopation  of  the  Pedal 7 

Pedal  Experiments 7 

Tone  Registers 7 


-o* 


PART   11. 

The  Modes  of  Using  the  Pedal 11 

A.  —The  Pedal  Governed  by  the  Tempo  and  the  Duration  of  Tones 11 

B.—    "         ''  "  "         Harmonic  Element 13 

C—    "         "  "  "        Melodic  Element 15 

D.—    "         "  "  "        Pitch  of  Tones 16 

EXCEPTIONS. 

A. — The  Pedal  Used  During  Scales  in  Lower  Registers 25 

B.— The  Pedal  Applied  During  an  Organ  Point  in  the  Bass 27 

PEDAL   EFFECTS. 

Little  Pedal  Pressures 28 

Their  Application 28 

The  Pedal  Applied  to  Scales  Running  from  Lower  to  Higher  Octaves 29 

Blending  Different  Harmonies  with  the  Pedal 30 

Some  of  Paderewskis  Pedal  Effects 32 

Study  by  William  Mason 34 

The  Half  Pedal 37 

The  Upper  Partials  or  Harmonic  Overtones 38 

Practical  Application  by  Arthur  Friedheim 30 

The  Omission  of  the  Pedal 39 

PART  in. 

The  Sustaining  Pedal 45 

Its  Use 45 

Hints  to  Pujiils 47 

Appendices  A  and  B 48 

Key 50 


14  DAY  USE 

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